Article
Change
Community
Development
6 min read

Tackling homelessness needs much more than promises and policies

While homelessness generates statistics and strategies around the world, Jane Cacouris asks what really is home.

Jane Cacouris is a writer and consultant working in international development on environment, poverty and livelihood issues.

A mother sits with a toddler standing in front of her. The father appears from the side lying on his back reaching an arm out.
A family play in a Rio favela.

“Mummy, are we homeless?” asked our six-year-old as we pulled away in the taxi. We had just eaten a final meal - a KFC family bucket of fried chicken - sitting on a sarong on the floor of our empty apartment in Rio de Janeiro, our home for almost four years.  

The question left me momentarily winded. Homeless. A word that instantly conjured up feelings of anxiety and uncertainty, of sands shifting under our feet. Technically, yes, we were. My husband had just left his job in Brazil, and we had two months with nowhere to live before we relocated back to the UK. With no permanent base anywhere in the world, we were about to use the time to travel in South America as a family. Whilst I did feel somewhat insecure, my husband in contrast found it freeing; the first time in his life that he didn’t carry a set of house keys in his pocket. We had nowhere to live, but we were free to go wherever we wanted. And this is where the analogy of us actually being homeless broke down. We had a freedom of choice in a way that the vast majority of people who experience homelessness do not.   

World Homeless Day on the 10th October was marked with the recent release of a landmark UN report on global homelessness. The UN define homelessness as:  

“where a person or household lacks habitable space with security of tenure, rights, and ability to enjoy social relations, including safety. [It] is a manifestation of extreme poverty and a failure of multiple systems and human rights.”  

According to UN-Habitat, a staggering 1.6 billion people in the world are estimated to be in inadequate housing and over 150 million have no housing at all.  

Global homelessness has been rising for the past decade, with temporary homelessness being increasingly caused by conflict and climate-induced displacement. However, according to the UN report, Covid-19 exacerbated the issue, deepening existing inequalities and causing already marginalised people to be even more vulnerable.  

In developing countries, the informal economy – self-made microentrepreneurs who sell everything from popcorn to shoe polishing - usually sustains the poor urban majority. But with many informal jobs vanishing during lockdowns, and with few assets and limited social safety nets, many urban dwellers were rapidly plunged further into poverty. Women and children suffering from domestic and gender-based violence had to remain in unsafe environments, with abuse escalating during lockdowns and curfews. Issues that encouraged migration and homelessness. 

There are approximately 150 million children living and working on the streets worldwide. Almost impossible to imagine, and so the number sometimes doesn’t compute with our hearts.

The extent of homelessness worldwide is notoriously difficult to quantify accurately, partly due to what is known as hidden homelessness. The hidden and isolated nature of children and adolescents living on the street, for example, makes statistics difficult to gather. A 2023 UNICEF report of street children in Dhaka estimated that the number of children living on the street just in Bangladesh could be in the millions. And according to UN sources there are approximately 150 million children living and working on the streets worldwide. Almost impossible to imagine, and so the number sometimes doesn’t compute with our hearts. The true horror of the isolation of child homelessness only truly hit me a few years ago… 

The residents in our block had finally had enough of the noise and called the police. They arrived in the middle of the night with their guns and shot at the children who dispersed.

Living at the top of a high-rise block in the middle of an urban neighbourhood in Rio, we were kept awake for a number of nights in a row. It started as a disturbance – children yelling in the street outside that would continue from the early hours until dawn. But as the days went on, the disturbance at night became more acute. One morning as I stepped out of our apartment in the morning, bleary-eyed and irritated, I was confronted by a small group of sleeping children lying huddled together in a row on the pavement next to a tree. Several pairs of bare filthy feet were sticking out of a blanket they were sharing. I looked down at them as I passed – they varied in age from about eight to twelve years old. The youngest was probably younger than my son at the time. He had knotted black curly hair and a streaked face. The next night we heard gun shots and then an eery silence. Another sleepless night, this time from worrying about the children, and then we discovered that the residents in our block had finally had enough of the noise and called the police. They arrived in the middle of the night with their guns and shot at the children who dispersed. The children never came back. 

The government pledge to end rough sleeping in England by the end of 2024 is woefully off track. 

Although homelessness is an overwhelmingly larger problem in poor countries, it also affects affluent nations, including the United Kingdom. This year the Kerslake Commission, an expert panel set up to scrutinise how rough sleeping is being addressed across England, pointed out that data on rough sleeping in London last year showed a 16 per cent increase in numbers of people sleeping rough. And that almost half (48 per cent) were sleeping rough for the first time. It concluded that the government pledge to end rough sleeping in England by the end of 2024 is woefully off track. According to Crisis, the homelessness system in England is at breaking point and the Homelessness Monitor 2023 reported that the cost-of-living crisis, rising rents and a lack of affordable housing are making it harder for councils to provide homeless people with effective support.  

It is about where you feel valued and understood… where you feel loved… and where you want to come back to. 

So, the problem of homelessness really is global. And what is the answer? Yes, governments must act; social safety nets and public policies to help alleviate poverty are critical. But even the richest countries with the most advanced governments have never been able to fully tackle this issue. Homelessness and poverty were rife in Biblical times. As Jesus said in the Gospel of John, “‘You will always have the poor with you”. And Jesus himself understands homelessness in a way many of us don’t; he started life in a stable, born to parents who were sleeping rough. He became a baby on the run to flee King Herod, homeless and seeking asylum in Egypt. When Jesus was older, after he was baptised by John the Baptist, he became homeless again, living life on the the road and in the open. In Luke, he says: “Foxes have dens and birds have nests, but the Son of Man has no place to lay his head.”  

He emphasised that his followers leave the trappings of “home” to follow him.  

I used to volunteer at a Christian charity, Casa de Maria e Marta, in a favela (slum) community in Rio, known for gang violence and drug trafficking. A larger-than-life Brazilian lady, Edimea, has run the charity for over twenty years. Almost a hundred children come to the charity each day, which provides three meals as well as extra tuition and care for the children. All of those who attend are either living in inadequate housing or are homeless. One day I asked Edimea whether she still sees the children after they leave her charity at age twelve. She laughed and said yes of course, they still come back to eat! And then she said, 

“I do an assessment before I take a new child in, to understand what they know, and work out how we can best help them. And I always say to them – we take beautiful children, and so we are taking you, because you are beautiful inside and out. They come back because they don’t forget those words.” 

Like Jesus, Edimea shows endless concern and love for those on the margins. She can’t solve all the practical problems she comes across or offer a permanent roof over a head, but she does provide a place where everyone feels a sense of safety and belonging. Perhaps home means more than the UN’s definition. It is about where you feel valued and understood… where you feel loved… and where you want to come back to.  

Review
Community
Culture
Film & TV
Monsters
7 min read

I came for the demon-fighting pop stars and stayed for the existential crisis

A Netflix kids’ film made me rethink shame, friendship, and my Spotify algorithm

Harry Gibbins  is a doctoral researcher at the University of Aberdeen. His PhD concerns the intersection between autism and Christian ministry.

K-Popm Demon Hunters lean forward wielding weapons
Rumi and friends.
Netflix.

I am not the target demographic for the hit film K-Pop Demon Hunters. My knowledge of K-pop is incredibly limited, and I’m pretty apathetic about musicals. In fact, my only real encounter with K-pop was as a youth worker, where I distinctly remember its first ‘wave.’ Suddenly, groups of mostly teenage girls were eager to tell me all about BTS, a boy band that rose to popularity the late 2010s. Their dancing was impeccably choreographed, their lyrics a mix of English and Korean; for as much as it wasn’t my thing, I got the appeal. International media finding a place within the British zeitgeist has happened before. I’m of the generation where Pokémon did an excellent job of distracting me from learning my times tables. Yet, the seven very handsome boys that made up BTS seemed to cast a spell over my young people like I’d never seen.  

Flash forward seven years. Much has changed. A global pandemic is in the rear-view mirror, and I’m trying to find my place in the north-east of Scotland. I’m sitting in the car trying to simply transport my two wonderful daughters from Point A to Point B. Many parents will know of the strange hypnotic effects of children’s songs in the car. A fifteen-year-old Harry would be mortified to know that Metallica no longer feature in the top spots of my Spotify most-played artists. Now, upon that throne sits an assortment of Disney Princesses, and they rule with an iron fist. Today is different, however. “What do you want on today?” I ask, ready for that day’s third rendition of ‘Let it Go.’ “K-Bop Bear Hunters”, replies my youngest eagerly.  

Here, my daughter is trying her best to remember the name of a song she’s heard at gym class. I work it out eventually, K-Pop Demon Hunters, amused by the swapping out of ‘Demon’ for ‘Bear.’ My wife puts it on, and to my pleasant surprise, the songs are like a breath of fresh air. I read a bit about K-Pop Demon Hunters, working out that it’s an animated film on Netflix, and I get the general gist. However, I’m surprised to hear that it’s recently become the streamer’s most-watched film ever. My wife and I decide to watch it together that night, and I’m blown away. I’m seriously not the target demographic for this film, yet it has me completely hooked.  

The film follows the three members of a K-pop girl group, Huntr/x (pronounced hun-tricks). We quickly learn that Rumi, Mira, and Zoey, use the power of music to fight off demons, many of which are based on real Korean mythology. Their singing empowers a magic barrier, the Honmoon, that keeps the demons at bay; yet, trouble emerges when a demonic boy band arrives seeking to stop Huntr/x and allow demons to take over the world. High jinks ensue, there are some cracking songs, and, of course, a surprise romantic subplot.  

As the film ends, I find myself left with an unusual feeling. Ever since I was told as a boy that the big lion in Narnia was really Jesus, I’ve been intrigued by stories that tell me something of faith. Now, to be clear, I do not think the writers of K-Pop Demon Hunters set out to create a story about Christian faith; it would be very naïve and quite inappropriate to suggest a film so heavily inspired by Korean culture was actually about Western Christian values the whole time. However, I am still personally challenged by the themes it brings up, especially considering the film’s emphasis on belonging, togetherness, and authenticity.  

‘What It Sounds Like’ 

Rumi, our protagonist for this story, hides a secret, a secret which propels the events of the film. It is established early on that you can tell a demon in disguise by the intricate patterns on their arms; sharp tattoo-like symbols that resemble lightning bolts coursing across their bodies. As Rumi gets to the bridge of the song ‘Golden,’ we see her looking at herself in the mirror. The sleeves of her jacket sloping off her shoulders to reveal that she too holds these patterns; Rumi is part demon. This all happens in the first few opening scenes of the film. The audience holds onto this secret alongside Rumi as she tries to hide these patterns from her bandmates. She believes that her job is important, crucial even. The Honmoon must be protected; the barrier to the demon world must be strong. However, Rumi’s secret becomes a thorn in her side, risking their mission. This was where I saw the potential of the story roll out in front of me. What started as a colourful, poppy, sickly-sweet kids film developed into a tale that demonstrates the power of friendship, community, and love. To try and illustrate this more clearly, I want to pick up on some of the lyrics from the song sung at the film’s climax, ‘What It Sounds Like,’ tracing Rumi’s journey as she deals with the secret she hides. 

If ‘Golden’ was to set the stage, illustrating the juxtaposition between the song’s words and Rumi's insecurities, then ‘What It Sounds Like’ is the fulfilment of Rumi’s wish. Whilst Rumi originally sang of a duty that provided her strength, “cause we are hunters, voices strong and I know I believe,” now she recognises that she relies on her friends to go her through, “I don’t know why I didn’t trust you to be on my side.” The suspicion Rumi holds that her friend won’t understand the quite literal patterns she hides has only led to division; now, through the authenticity she has learnt to value, through the support of her friends who cast away their prejudices, a new reality is found where Rumi no longer holds shame for who she is.  

I am not surprised at all to hear that queer writers have acknowledged the allegory for the shame many queer people hold around coming out. Needing to hide a part of herself, Rumi demonstrates the philosophical cornerstone that has caused this story to resonate with queer folk. This is most potent at the crescendo of ‘What It Sounds Like,’ where all three girls come together and sing as one, “why did I cover up the colours stuck inside my head? I should’ve let the jagged edges meet the light instead.” What I believe is demonstrated here is a rejection of the thin understanding that ‘Golden’ prioritised. Originally, these bandmates came together because of a responsibility that has been placed on them; demons are bad, get rid of them. Now, a more nuanced reality emerges. As the light spills out of them, meeting these “jagged edges” of life like a prism, the world no longer seems as black and white as they first believed. Rumi, being part demon, is not in conflict with their desire to love each other. 

Carrying and caring 

Fantasy writing does a good job of using a physical object to represent the philosophy of the story. The One Ring in The Lord of the Rings both represents the burden Frodo carries and is literally the burden he carries. K-Pop Demon Hunters takes a similar approach, just not physically. As Huntr/x sing of the scars they carry, of covering up things they thought would lead to discrimination, they acknowledge that they have “listened to the demons, we let them get between us.” The fight they have is with magical creatures from the underworld, yes. But these demons also represent the division between Rumi and those she cares about. However, this shame is rooted in reality; we see early on that Rumi’s friends probably wouldn’t understand her part-demon heritage. What is needed here isn’t for Rumi to simply rip the plaster off and be honest. The shame she feels might well be internal, but it is still projected upon her by the attitudes of others. Instead, as demonstrated by the lyrics, it is only through a genuine life-giving care for one another that these three friends can come together to conquer darkness.  

To summarise, K-Pop Demon Hunters spoke more to me about the human experience of community, friendship, and togetherness than most so-called ‘grown-up’ films have ever managed. I am pleased that a film that, I imagine, my children will watch over and over again holds such a comforting message. Against a backdrop of children's media that only exists to empty my wallet, K-Pop Demon Hunters—against all my assumptions—truly demonstrates the artistic value of animated films. I look forward to the enviable barrage of sequels and copy-cats. 

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